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Home , Crazy for You (musical), Lionel Bart, Paul Nicholas

Education

2 Pack

Contents

Introduction ...... 2 1. About Musicals and Crazy for You ...... 3 A History of the Musical ...... 4 George and ...... 8 Synopsis of Crazy for You ...... 9 The Characters ...... 11 2. Meet the Team...... 12 Interview with the Director...... 13 Meet The Cast ...... 15 3. The Rehearsal Process ...... 17 The Journey of a Production ...... 18 The Design Process ...... 20 Costume Designs ...... 22 A Day in Rehearsals ...... 23 Inside the Rehearsal Room…………………………………………………………………………………………………………..24 Rehearsal Report ...... 27 Credits ...... 28

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Introduction

This pack has been designed to support your visit to The Watermill to watch our production of Crazy for You.

This is a digital pack; where you see this arrow there is a link that you can click on to view other material online.

Your feedback is most welcome, please email [email protected] or call me on 01635 570927.

Don’t forget that we offer workshops on most aspects of drama, and visit many schools in the surrounding area to work with students and teachers. For an education brochure, please visit the Outreach pages on our website, or us.

For our schools brochure please click here.

We hope you find the pack useful. Heidi Bird Outreach Director

Email: [email protected] | Tel: 01635 570927 The Bagnor, Newbury, Berks RG20 8AE www.watermill.org.uk

www.watermill.org.uk/education_packs

This pack was written and designed by work experience placement, Esther Mead with contributions from Ella Wilson, Emily Beck, Matthew Waite, Millie Randall and Beth Flintoff.

The Watermill’s core Education and Outreach programme is generously supported by The Dr. Mortimer and Theresa Sackler Foundation.

Rehearsal photos by Philip Tull. Production photos by Richard Davenport.

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1. About Musicals and Crazy for You

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A History of the Musical

Theatre and music have always gone hand in a series of sketches by writers like Ivor hand, ever since the Ancient Greeks started Novello and Noel Coward, such as exploring different ways of performing two Calling in 1923. thousand years ago. In the 1700s people were After World War II, a musical called Oklahoma putting songs and musical interludes into their surprised everyone with its brilliant energy. It plays, but they weren’t called ‘musicals’ until was written by two Americans, Rodgers and nearly 200 years later. – a play entirely Hammerstein, who worked together with one sung by classical singers accompanied by a full writing the music and the other the lyrics. For orchestra – had been around for hundreds of the first time the storyline was properly years by this time. A musical, by contrast, will interwoven with the music. generally have scenes with spoken dialogue interspersed with songs and dancing, In the East End of London, at the Stratford accompanied by an orchestra or band. The East Theatre Workshop, a director called Joan music is more pop than classical, and the Littlewood decided that theatre shouldn’t be orchestra will contain instruments not just for ‘posh’ people, as she put it. She normally found in a classical orchestra, such wanted real accents, and encouraged the as drums, guitar and saxophone. actors to improvise. Everyone was involved in the creation of the work. The first musical she The West End and Broadway created was called Fings Ain’t What They Used The world of musicals in this country is to Be. The songs were put together by an centred on the West End – a handful of unknown composer called Lionel Bart, who streets in the heart of London that are littered couldn’t read or write music, but had an with large theatres. There aren’t just musicals ability to create great songs in his head. Fings in the West End – there are also plenty of Ain’t What They Used to Be had lots of rude plays – but this is where people come to see lyrics and suggestive dialogue, and at the time the big musical of the moment. It’s the same there was still censorship. The censors came in America, where there is a single street in to see the performance, and were predictably New York called Broadway with 40 theatres. upset - they even thought that a ladder was Sometimes musicals that are really successful carried at an ‘erotic angle’! But the show was in London’s West End will transfer to so heavily improvised that the actors simply Broadway, and vice versa. A successful changed it the next night. And shortly musical in the West End, where thousands of afterwards, with Saved at the English Stage tickets are sold every night, could make a , censorship was abolished. fortune for everyone involved; a flop can Meanwhile over in America West Side Story, a mean financial ruin. musical version of Shakespeare’s Romeo and Early Juliet, updated to street gangs in contemporary America, marked the first time At the start of the Twentieth Century there that a serious theme had been attempted on were light-hearted musicals, often coming such a large scale. The choreography was from America by jazz composers such as dynamic and edgy, expressing the anger of and such as disaffected teenagers. Lionel Bart’s next , and Kiss Me Kate. There were musical was Oliver!, also about street gangs, similarly jolly English shows that were mostly

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but set in the Victorian era with homeless protested outside the theatre. But the reviews children instead of teenagers. It was also a were fantastic. , the actor huge hit and the first successful British show playing Jesus, said later that playing the to travel across to America. crucifixion scene ‘was very overwhelming’. As he was lifted up by a hidden frame, so that it Lionel Bart became a celebrity, and his next looked as though he was suspended mid-air, collaboration with was hotly with beautiful music playing, he said he ‘had anticipated. It was called Twang, and told the tears streaming’ down his face. story of Robin Hood. But it went terribly wrong. The director and composer disagreed, The producer of , Robert and scenes were constantly changed. Barbara Stigwood, had the clever idea that this Windsor, an actress famous for appearing in production might work around the world. the Carry On films who later went on to star in After all, nearly everyone has heard of Jesus the BBC’s long running soap EastEnders, was a Christ. So it was carefully replicated, with the member of the cast, as was the comedian same music, set, and direction, and sold to . He said later that ‘if you went other countries. It was a brilliant idea that still to the toilet you would come back and your works today, but at the time it wasn’t without part had been completely cut.’ The show was problems. , for a disaster, critics hated it, and poor Lionel example, hated the French version in Paris so Bart, who had paid for it with his own money, much that he ran down the aisle shouting ‘this went bankrupt. must be stopped’ until was able to calm him down. Controversial musicals The development of musicals Theatre is always a reflection of the world around it, and in the 1960s the world of For a while, after the success of Superstar, peace-loving protest found its way into the musicals got bigger and bigger – their sets and musicals. , a show about hippies production values were huge, and the protesting against the Vietnam War, was all storylines took on epic themes. They became about spontaneity and authenticity. They cast known as ‘mega musicals’. unknown actors who weren’t necessarily Andrew Lloyd Webber began to experiment trained, and the musical caused a big stir by with the form: he wrote – a musical featuring full nudity and talking openly about about the lives of cats based on the poems of sex and drugs. Hair didn’t open in London T.S. Eliot – and Starlight Express – a musical until three days after censorship ceased – about trains where the performers wore which was probably wise! Some of the cast roller-skates. Both were huge hits. Biggest of got into trouble for smoking dubious all was his musical The Phantom of the Opera, substances on the roof during the interval, which has been running for over 25 years and which made the show seem incredibly ‘cool’. is seen around the world. It got young people excited and interested in going to musicals for the first time. In 1985 a musical of Victor Hugo’s French novel, Les Misérables, came to London. It’s all In the 1970s there was the first ‘Rock Opera’ – sung, like an opera, with no spoken dialogue. still technically a musical, but entirely sung The production was put together by the this time, and with a strong rock music score. producer and the Royal This was Jesus Christ Superstar, a musical by Shakespeare Company at the Barbican two men who would dominate the musical Theatre. Les Mis (as it’s commonly known) theatre world from now on, composer tells an epic tale of ordinary people swept up Andrew Lloyd Webber and the lyricist Tim in the French Revolution and encountering Rice. Even the title caused outrage, and nuns

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poverty, love, danger, friendship and betrayal Fisher was chosen to play Maria in The Sound on the way. It is unashamedly emotional – the of Music in 2006, and it worked brilliantly for sight of innocent orphans dying on the the production, selling millions of tickets barricades often leaves audience members in before it even opened. He has since repeated tears. The first reviews were extremely critical the formula to find leads for Joseph, Oliver! – but for this didn’t stop the public from and The Wizard of Oz as well as a new rock loving it. They really, really loved it. It is now stadium version of Jesus Christ Superstar. the longest running musical ever and has On the other hand, Billy Elliot, about a boy been seen by an estimated 55 million people who wants to learn ballet during the miners’ around the world. It was made into a strikes in the 80s, had no big star names and successful film starring Hollywood actors relies mostly on a young boy actor playing the Hugh Jackman, Russell Crowe and Anne title role to carry the story. In fact, the part of Hathaway. Les Mis wasn’t the only hit musical Billy is so exhausting that one of the first created by The Royal Shakespeare Company - young boys to play the role, Liam Mower, more recently they have had huge success would sometimes throw up in a bucket at the with Matilda, based on the Roald Dahl book, side of the stage. Billy Elliot used the fact that with music by Tim Minchin, which won a it was based on the film of the same name to record-breaking seven prizes at the generate interest. This has happened to lots prestigious annual Olivier Awards. of other films that have been made into After the success of Les Mis, Cameron musicals, like , Dirty Dancing, Ghost, Mackintosh worked again with its composers, Sister Act and Shrek. Meanwhile two other Boublil and Schonberg, and made a new musicals based on films, and musical based on Puccini’s opera, Madame Priscilla, Queen of the Desert were also Butterfly. They updated it to the Vietnam War successful hits, with their kitsch, retro appeal and called it Miss Saigon, telling the story of and outrageous costumes. an American soldier who falls in love with a Another way of making sure that people come Vietnamese prostitute who has a child after to see the musical is to choose music that he has returned to the States. Miss Saigon everyone knows already. This was first done was also a big hit – and gained fame for by an inexperienced producer called Judy creating the realistic effect of a helicopter Craymer, who thought that the songs of ABBA landing onstage. would make a great musical. She managed to Trying to achieve success get together the money by giving up her job and selling her flat, but the risk paid off. Since the ‘mega musicals’, there has been a Mamma Mia! was a worldwide success and constant search to find the secret to creating has since been made into a film starring Meryl a successful musical. Cameron Mackintosh, Streep. Since then other musicals based on who has produced disastrous shows as well as the songs of well-known bands, such as We his big hits, said ‘you can’t programme big Will Rock You, based on the music of Queen, hits,’ but people keep trying. Often producers have also proved popular, alongside nostalgic will cast celebrities in their shows, so that shows looking back to a different musical era people will come and see them. Ideally, the such as , , and Dreamboats star will be known on film or television. and Petticoats. Andrew Lloyd Webber came up with an idea to make sure that his star would be famous – Meanwhile in America, Disney, the film a television series in which the audience can, company famous for its cartoons and family over the course of a few weeks, choose who films, also used the fame of its stories to make will land the lead role. This was how Connie musicals. This began with , which

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involves puppets and elaborate costumes fitted around the bodies of dancers to tell the story of feuding animals in Africa. The show features birds on wires swooping over the audience, and music by with lyrics by . Some of the songs, like Circle of Life and Can You Feel the Love Tonight? made the top of the charts. Meanwhile the long- running musical tells the story of life before The Wizard of Oz, explaining how there came to be a good and bad witch in Oz and imagining them as friends when they were growing up.

So far we have mainly talked about big, ‘blockbuster’ musicals, but the musical is a diverse genre and there are all sorts of different types. In recent years there have been more controversial musicals like ; The Opera. Based on an American and Peter Dukes. chat show, it contains beautiful tunes contrasted with lyrics full of swear words, and ran for six-months at the Trafalgar Studios and features a dancing Jesus dressed in a nappy. then the New Ambassadors Theatre. It The BBC decided to televise the musical, opened on Broadway in 2005 with an causing – you guessed it – protests from American cast and won two prestigious Tony people offended by the anti-Christian Awards. sentiment. The BBC staff received death The concept of actor-musician productions threats and had to be protected by police on has become popular in these straightened the night of the showing. times, where multi-talented actors save the Actor-Musician musicals cost of hiring musicians. In the last decade actor-musicianship has become a career in its Actor-Musician work (in which the actors own right, and one of John Doyle’s original provide the orchestra as well as the singing, company at The Watermill, Jeremy Harrison, acting and dancing) really began to establish runs a well-known Actor-Musician Degree itself at The Watermill from 1998 with course at Rose Bruford Drama College in . The style was pioneered by the London. director John Doyle and musical director . The work has attracted critical acclaim and national awards. Five productions BETH FLINTOFF have transferred to London.

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George and Ira Gershwin

Known for their timeless jazz ‘classics’, the Love and They Can’t Take That Away From Gershwin brothers are one of the most Me. Overall the brothers collaborated on famous song-writing duos of the more than twenty scores for stage and twentieth century. Ira (1896-1983) was an screen. American lyricist, whilst his younger Their partnership continued until George brother George (1898-1937) worked as a died prematurely from a brain tumour, composer and pianist. The two brothers after which Ira ceased writing for 3 years. collaborated to create many of their Following this, he collaborated with greatest works, with compositions successful composers such as Vernon spanning both popular and classical Duke (Ziegfeld , 1954), Jerome Kern genres of music. George also worked (Cover Girl, 1944) and Harold Arlen (A Star independently; among some of his best- Is Born, 1954). known orchestral works are Rhapsody in Blue and An American in Paris. The Gershwin brothers are just as well- known now for their moving ballads and Lady, Be Good was the brothers’ first exciting rhythm numbers as when they Broadway hit, which first demonstrated first found fame in the mid-20th Century. the effectiveness of their combined The continued interest in their music led talents, with other popular shows to several people bringing parts of the including Funny Face and wealth of songs by the brothers together, (the first musical comedy to win a Pulitzer in order to create new Gershwin musicals. prize). Initially a commercial failure, their Crazy for You is an example of one of first musical opera is now these new musicals and with audiences considered one of the most important still enjoying the production today, this American of the twentieth century shows just how timeless the works of and contains recognisable songs such as George and Ira Gershwin are. Summertime. Other well-known songs by the duo include , The Man I EMILY BECK

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Synopsis of Crazy for You

THE ZANGLER THEATRE, NEW YORK As the Follies Girls prepare for their next Bobby enters the town almost dying of new production of Zangler Follies at the thirst, and falls in love with Polly at first Zangler Theatre, a very enthusiastic Bobby sight, not realizing who she is, expressing Child, the rich son of a banking family, is his excitement in the song Things Are waiting backstage. He is hoping to Looking Up. Lank isn't pleased to see a audition for Mr. Zangler, performing ‘K-ra- rival for Polly's affections as he wishes to zy for You’. However, this does not go as marry Polly himself. planned as Bobby ends up standing on Mr. Bobby comes up with a brilliant idea of Zangler’s foot and doesn’t make the cut. putting on a show to pay off the

mortgage, to avoid closing the theatre and Bobby is met by Irene, his wealthy losing the girl of his dreams. Polly agrees fiancée, and then by his mother, Lottie, to this plan until she finds out who he is who demands Bobby carry out her and suspects it to be a trick. Bobby and banking business. Lottie orders Bobby to Polly are both heartbroken, but Bobby go to Deadrock, Nevada, to close a decides to put on the show anyway... rundown theatre. As the women argue disguised as Mr. Zangler. Polly, deeply over him, Bobby imagines himself dancing hurt, expresses her loneliness in Someone with the Follies Girls in the theatre and to Watch Over Me. joins them in singing a dreamy fantasy in I Can't Be Bothered Now. When he is A few days later, the Follies Girls (on brought back to reality, Bobby decides to vacation from The Zangler Follies) appear escape Irene by going to Nevada. in the desert of Nevada. Bobby has asked them to help stage a spectacular show in DEADROCK, NEVADA Deadrock at the Gaiety Theatre. When the When Bobby arrives in Deadrock, he is men of Deadrock see the girls, the sleepy greeted by the lazy cowboys singing Bidin' town becomes very lively. Lank is My Time in a long, slow drawl. Everett relentlessly scathing about the show and Baker, who owns the Gaiety Theatre, threatens to shoot Bobby. receives a letter from New York warning

of the bank closing the theatre if they Rehearsals for the show aren't going well don’t pay the mortgage. The only woman and the Cowboys in particular are terrible left in this desolate town is Everett's dancers. However, Bobby changes all this daughter, Polly Baker, who promises to whilst singing and stop Bobby Child from taking the theatre everyone is excited for the performance. if she ever meets him. Lank Hawkins, the Meanwhile, Polly has fallen in love with owner of the town's Saloon, argues with Bobby, who she now thinks is Zangler, but Everett, wanting to buy the theatre before Irene has arrived in Deadrock, threatening the bank takes it. Everett refuses to give to expose Bobby's real identity. Polly up the theatre in memory of Polly's expresses her love for Zangler with the mother being the star of all the theatre's song . old shows.

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A few days later the night has finally The townsfolk are all now gathered at the arrived for the opening performance. theatre. Bobby is all for trying the show Everyone is buzzing with excitement as again, while Polly thinks they should they put on makeup and costumes to abandon it. The Fodors counsel the prepare for the show and sing Tonight’s dejected townspeople to keep a Stiff the Night. Disappointment strikes the Upper Lip, but by the end of the song, only town when they find that the only people Polly, Everett, Bobby, and Tess still think to arrive are Eugene and Patricia Fodor, the show should continue. British tourists writing a guidebook on the American West and who have not actually Everyone but Bobby and Polly leave the come to watch the show. However, Polly theatre; Bobby prepares to leave for New reminds everyone that they have York, professing that his memories of transformed the town and their Polly will never fade in They Can't Take community into a lively and spirited place. That Away From Me. Polly realises, too They celebrate this by singing the late, that she does love Bobby, and after showstopper, I Got Rhythm. During the he leaves she sings about her loss in But performance, the real Bela Zangler Not for Me. stumbles unnoticed into the town as he collapses just as the scene ends. Meanwhile, Bela Zangler decides to put on the show for Tess’s desirers and the two At the start of Act 2, Bobby is in Lank's seem to be in love once more. Although saloon professing his love to Polly. Zangler had been planning to cast Bobby Unfortunately, she is still in love with the as the lead, he makes Polly the star of the man who she thinks is Zangler. Bobby is show after learning that Bobby has left for about to convince Polly that he has been New York. dressed up as "Zangler" the whole time, when the real Zangler stumbles into the BETWEEN NEW YORK & DEADROCK, saloon looking for Tess. Zangler finds Tess, NEVADA but refuses to produce the show. Tess Six weeks later, Bobby is still thinking of storms off, and a very drunk Zangler, Deadrock as he works for his mother's heads to the bar. Bobby, dressed as bank. For his birthday, his mother gives Zangler, also goes into the bar to drown him the Zangler theatre (as Zangler has his sorrows over losing Polly. Drunk and not paid his mortgage, having used all his depressed, the two men act as mirror money on the show in Deadrock). While images of each other, and sing about their initially ecstatic, Bobby realises that his lost loves in What Causes That. love for Polly is worth more as he sings Nice Work if You Can Get It, and leaves for The next morning, Polly sees the two Deadrock with his mother to find Polly. Zanglers and realises what has happened.

She slaps Bobby and leaves in a huff, while Meanwhile, Polly has decided to leave for the townsfolk prepare for a meeting at New York to look for Bobby, who enters the theatre to discuss what to do with the Deadrock just after she leaves. After show. Irene comes to Bobby in one final learning that Polly has left to find him, he attempt to make him go back to New York plans to drive back to New York to catch with her, but Bobby rejects her, and tells her. Bobby's mother and Irene (who is her of his love for Polly. Incredibly now married to Lank) notice each other, frustrated with Bobby, Irene seduces Lank and start an argument. Everett notices in Naughty Baby. Lottie, and falls head-over-heels in love

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with her, as he sings the reprise of Things Together the townspeople create a plan, Are Looking Up. and Polly and Bobby are finally reunited. All is happy in Deadrock as the Theatre is Polly goes with Custus, one of the saved and everyone is happy at last. cowboys, to get a ride to the station, but his car has run out of gas, and she has ELLA WILSON missed the train to New York.

Left: (Bobby). Top: Caroline Sheen (Polly) and Tom Chambers (Bobby) - centre - and the cast of “Crazy for You”. Bottom from left to right: Katrina Kleve (Mitzi), Anne White (Margie), Hollie Cassar (Tess), Seren Sandham- Davies (Patsy).

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The Characters

Deadrock, Nevada:

Polly Baker is an “All-American Girl”, Moose is a member of the Cowboy

and the Postmistress in Deadrock. She Trio, alongside Mingo and Sam. He is is incredibly protective of her father, extremely lazy and smelly, and proves and refuses to let his theatre be taken to be a truly terrible dancer – but a over by the bank or bought by Lank. great bassist!

Everett Baker is Polly’s father, a Lank Hawkins is the Saloon gentle, befuddled man in his 60s. He is proprietor in Deadrock. He is an the owner of the Gaiety Theatre, intense, usually manic fellow, blessed which is physically and financially with a vision for the town that no one crumbling. His spirits remain high due else quite shares. He hopes to marry to his love of Polly and memories of his Polly, as she is the only woman within late wife. fifty miles of him!

Eugene & Patricia Fodor are a chirpy English couple who arrive in Deadrock Custus is a Cowboy in Deadrock. He as tourists. They are travelling the agrees to be in the company for

American West with the intention of Bobby’s show and turns out to be a fantastic tap dancer. writing a guide book.

New York City:

Bobby Child is a young man, training as

a banker, who is in love with musical theatre. He dreams of being on the stage and wants to prove himself, to Bela Zangler is an established both Bela Zangler and his mother. Broadway producer. He is an imposing, dapper man with a Irene Roth is a society debutante and moustache, beard and Hungarian Bobby’s fiancée. She is desperately accent with only one weakness – Tess. planning her much-awaited wedding, and frustrated by Bobby’s complete lack of interest. The Follies Tess, Patsy, Mitzi and Margie are all members of the Follies.

Tess is in charge of the chorus of Mrs. Lottie Child is Bobby’s business- Follies. She’s also Bobby’s friend and oriented and domineering mother. She Zangler’s mistress. disapproves of his for dancing, as well as his engagement to Irene. 11

2. Meet the Team

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Interview with the Director Esther Mead talked to The Watermill’s Artistic and Executive Director, Paul Hart, who has directed Crazy for You. Have there been any difficulties co- ordinating the use of musical instruments and the choreography? Yes, I think that is possibly our biggest challenge and we have had to keep it in mind from the start. Our choreographer, Nathan, used the music and the instruments as a starting point and built up from there. We have aimed to include Paul Hart dancing that works around the The music of the Gershwin brothers is so instruments without any compromise – well-known and loved. Why do you think there are actors dancing with trumpets or it has such a lasting and timeless appeal? clarinets as part of the movement. The sheer brilliance of them both When you were first discussing the show individually and as a team. Together they and working with designer, Diego produced some extraordinary work, which Pitarch, did you know how you wanted was so different to everything else of their the set to look and what impact has The time. They had the ability to create Watermill’s architecture had on the sophisticated music, which would please show? both critics and their audiences. Part of the reason I wanted to put on this How have you incorporated actor- production is because of the theatre and musicians to achieve this? the stage and, with Diego, we based the whole production on the space. I saw In actor-musician shows, the audience can many similarities between The Watermill literally see the music being produced and the Gaiety Theatre, as they both have onstage, which helps them become more history and character. My idea was to use aware of the musicality of the production. the Gaiety Theatre as a backdrop for the I think seeing how all the different whole show. From here, I worked with elements of the music are put together Diego on how we would show the changes works especially well for Gershwin as it between the two main settings: New York fits with the way he composes. and Nevada. Why did you want to become a Director and Artistic Director?

I knew from a young age that I always wanted to do something in the theatre. I

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was fascinated by all aspects of a working the audience and gives them something to theatre and tried to gain experience in enjoy. different areas. It was from this What advice would you give to aspiring experience that I decided to work as a directors? director as you get to work with all the different departments, overseeing all the My advice would be to get as much elements needed to put a show together. experience as possible in all areas of the theatre – Front of House, Backstage, The big difference as an Artistic Director is Admin – to gain an understanding of all of the relationship I am able to create with the different roles. I would also advise my audience. Whilst I was a freelance reading as much as possible, to explore a director, I could communicate one range of repertoire and expand your own message to lots of audiences in many style, material and ideas. different places. However, as Artistic Director I am able to choose a seasonal or annual programme which both challenges

Top: Paul Hart with members of the cast in rehearsals. Below (Left to right): Holly Cassar, Seren Sandham-Davies and Anne White. Right (Left to right): Holly Cassar and Kit Benjamin.

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Meet The Cast

Matt Bateman Kit Benjamin Tom Chambers Billy / Eugene Fodor Everett Baker Bobby Child

Hollie Cassar Peter Dukes Lindsay Goodhand Tess Bela Zangler / Cowboy Lottie Child/Patricia Fodor

Katrina Kleve Jeremy Legat Emile Ruddock Mitzi Lank Hawkins Custus 16

Ned Rudkins Seren Caroline Sheen Moose Sandham-Davies Polly Baker Patsy

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. Lucy Thatcher Anne White Irene Roth Margie

Interview with the Actors

Read an interview with Caroline Sheen who plays Polly here:

http://www.westendwilma.com/caroline-sheen-tea-with-wilma

Watch an interview with Tom Chambers (Bobby), Caroline Sheen (Polly) and Director, Paul Hart here:

http://www.whatsonstage.com/newbury-theatre/news/crazy-for-you-tom- chambers-caroline-sheen_41428.html? cid=homepage_news

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3. The Rehearsal Process

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The Journey of a Production

The Watermill Theatre is a producing house. forced to hand over their measurements) our This means the vast majority of our shows are Wardrobe department gets to work sewing created in-house, and we have a different cast and stitching to create the costumes you’ll see and creative team for every new show we on stage. put on. Work on each show begins here several months before the actors take to the The casting process can vary greatly stage on opening night, and it’s a long road depending on the size of the cast and the from choosing a show to perform, to the skills required from the actors in each role. curtain call on first night. For actor-musician productions one of the biggest challenges is forming a cast with the The first step of putting on any production right balance of instruments. Other starts with finding a good script. Of course, productions require actors to play several there are many to choose from, spanning characters throughout the course of the hundreds of years and several continents, but show, often a tricky proposition! Actors will selecting those plays that fit The Watermill’s attend an initial audition and follow that up intimate nature, have something compelling with one or more recalls, in order to to say to a modern audience, and can be demonstrate different talents, read for a performed in new and interesting ways, often different character, or audition with an actor presents quite a challenge. You can always already cast to test their chemistry together. commission a writer to produce an entirely original script, one that suits the kind of Rehearsals begin three or four week before production you’re looking for. Indeed, The the show opens. The actors – recruited from Watermill often takes this route – in 2014 we all over the country – all live on site at The staged Sense and Sensibility, an adaptation of Watermill or in the surrounding area the classic Austen novel by Jessica Swale; A throughout the rehearsal and performance Bunch of Amateurs, a new play by Ian Hislop periods. On the first day of rehearsals the cast and Nick Newman, and Hardboiled, an meet one another, and work begins on entirely original piece written by Beth Flintoff everything from costume fittings and dialect in collaboration with Rhum and Clay Theatre coaching, to instrument practice and fight Company. choreography – along with learning all their lines of course! Throughout the rehearsal In tandem with finding the perfect script is the process all aspects of the production begin to search for a director who can bring the show come together. to life, who has their own personal take on the play, and can bring their unique vision to Our Stage Management team assists the the table. Once the script has been married to director in blocking the show – figuring out a director, designers and lighting designers how the characters move around the stage begin to come aboard, and the visual nature and interact with one another in each scene. of the play starts to develop. A set design is The Deputy Stage Manager keeps a record in created, first through sketches and drawings, the prompt book of all the notes taken down and culminating in a model box, illustrating during rehearsals, and this is what the show how the set will appear on the Watermill will be called from. There are also many stage. requests for props – from old-fashioned typewriters to stuffed animals – which we The designer also creates costume designs for source from our own prop store, eBay, flea each character, in line with the overall design markets, and occasionally the homes of of the show. Once the actors are cast (and Watermill staff members.

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on, interact with the scenery and props, and A lot of research takes place as the cast and come to terms with just how close the creative team collaboratively create the world audience in the front row will be. The dress of the show. This involves reading around the rehearsal takes place on the afternoon of history and setting of the play, societal norms opening night, and it is the cast, crew and and beliefs, facts about the characters or their stage management’s final opportunity to real life counterparts, looking at photos or make any changes, or correct any problems paintings from the period, and anything else that have arisen throughout the rehearsal that helps to delve further into the minds of period. the characters. In the days leading up to opening night, rehearsals move into the The actors are all in full costume, props are theatre itself. set, lighting and sound cues finalised, and hopefully everything goes off without a hitch. Often just a day or two after the previous A few hours later the first audience members show has finished, our dedicated Production begin to arrive, and from then...the show team will have spent that brief window must go on! performing the ‘get-out’ of the last set, and the ‘get-in’ of the new one. The actors can now step onto the stage they’ll be performing MATT RAY

Left: Tom Chambers and Caroline Sheen. Top (Left to right): Matt Bateman, Emile Ruddock, Ned Rudkins-Stow, Peter Dukes. Bottom (Left to right): Anne White, Tom Chambers, Ned Rudkins-Stow, Lindsay Goodhand

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The Design Process The set is what we put onstage to help re-create the world of the play. The set designer makes a model box of the set to show the production department, director and actors what they want the set to look like. Designer, Diego Pitarch, talked to the cast and production team about the design on the first day of rehearsals. There are many stages the designer goes through before they get to this point.

Step 1. Research

The first step is to research the time period and location of the piece. Often the designer will create a scrap book of images, materials and textures that may inspire their design. Initial ideas are discussed with the director to make sure they fit with the director’s overall vision. These can also be given to the production team to help them when bringing the design to life. For example, the designer sometimes draws sketches of how they would like the costume to look and this is given to the wardrobe department as a reference.

Step 2. White Card

The White Card is an unpainted model of the set which is sent to the production team who makes sure it fits the space and the budget that is available.

White card example from a previous Watermill show.

Step 3. Model Box

The designer then creates a model box. This is made on a 1:25 scale to give the creative team a clear picture of the set. The production team uses the model for the building process, ensuring that the final set replicates exactly the designer’s original model.

The model box for Crazy for You

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Step 4. Scale Drawings

The designer then draws a ground plan of the model box to the scale of the theatre. This gives the carpenter the exact dimensions to work from.

Scale Drawing of Crazy for You

Step 5. Building The Set The carpenter then starts to make the set. At The Watermill the set is built off-site in a large barn in Coventry and then brought to the theatre and constructed during the weekend before the show opens.

Step 6. The Final Set The final set is fitted into the theatre. During the fit-up the designer will work with the production team to ensure that all the final details are perfected on the set before the show opens.

The final set

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Costume Designs The wardrobe department are in charge of finding or making the costumes and then adjusting them to fit each actor. They also have to make sure that the costumes are perfect for each performance, which means that they must repair rips or tears.

Our wardrobe department will meet the designer a long time before the performance so that they have plenty of time to see the designs and get the costumes ready.

Below are some costume designs for Crazy for You.

Bobby Child Polly Baker Bela Zangler

Cowboy Follies Girl Irene

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A Day in Rehearsals

Each day a rehearsal schedule is drawn up. This is distributed to the cast members, the creative and technical team. Below is a schedule for Wednesday 20th July on the last week of rehearsals. On the following couple of pages, two work experience students Esther Mead and Matt Waite document their experience of being inside the rehearsal room. See how the schedule compares to what happened…

The day is then summarised in a rehearsal report (See page XXX), which the Deputy Stage Manager writes and distributes.

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Inside the Rehearsal Room Work Experience placement, Esther Mead and Matt Waite, spent the afternoon in rehearsals with the Crazy for You cast. Below they share their experiences. Esther’s Rehearsal Report

Having run the first act in the morning, I joined the cast when they were going over specific songs and scenes in closer detail. They began with the Follies Girls’ Entrance into Nevada, focusing on the music and choreography. After a short run of the sequence, Musical Director, Catherine, and Associate Choreographer, Claira, worked with the cast on different sections of the music and dancing, respectively, as well as how they would combine both aspects. The cast of Crazy for You in rehearsals. The four Follies Girls needed enough time to could all see each other and communicate position their instruments at the side of the better. Having worked on this, they than ran stage before getting in position to be able to the two numbers, which were much more sing, which was rehearsed a number of polished. times to make sure this was secure in time to the accompanying music. The cast were At this point in the rehearsal, Director Paul able to make the most of their rehearsal Hart took the male members of the cast to time by going over different parts the stage to rehearse the fight scenes in the simultaneously: whilst Claira worked with show with Fight Director, Paul Benzing. This the Follies Girls on some of the was important as they needed to practise choreography, Catherine worked with other this movement sequence in the space they cast members on their instrumental parts. It would be performing in. Whilst the male was clear that possibly the most difficult cast members were needed elsewhere, part of the production is playing the Claira continued to work on the Follies Girls’ accompanying instrumental music from dance break. This included some tricky memory, as the cast will all be on stage. At choreography with suitcases, such as sliding this point in the rehearsal process, the into splits from sitting on the suitcases, and actors used music stands which were dotted a can-can routine standing on top of them. around the edge of the space in case they Claira worked with the girls on fitting the needed music to refer to. choreography in time to the music, and introduced some alternative movements They then moved on to rehearse both into the routine to make this easier when Embraceable You and Someone To Watch dancing with the suitcases. Over Me, working mostly with Catherine on the music. The main thing worked on in this It was very exciting to watch all the rehearsal was the cast agreeing on timings elements of the show coming together in and speed as an ensemble, and especially rehearsals and being polished in time for together with Caroline Sheen singing. To opening night next week! help this, Caroline faced the rest of the cast – almost forming a circle – so that they

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Matt’s Rehearsal Report Keeping rehearsals on track and making progress is a full time job. Matt Waite, shadowing the production team, reports on a typical/the same day from the perspective of the stage management department: Before Lunch Lunch 10:00am Cast get their instruments in 1:30pm The actors rest but the production tune by playing them to warm them up. team have to keep working! The In the rehearsal room there are a few production meeting brings together staff print-offs of the “Agenda for the Day” for from every area of backstage. Everyone everyday so we know what we will be explains what progress they’re making doing. But sometimes it does alter and we discuss any problems to solve. In throughout the day. the production meeting we talked about:

10:09am Start work on Things Are Looking • Lighting: if we needed to hire some Up, fine-tuning the way they play and more lights or if we have enough. trying to get the balance right with the • Choreography: is Tom/Bobby still singing. There are 14 cast members and going to dance on the ironing every cast member plays a musical board because the ironing board instrument somewhere during the show. might not be big enough. • Props: How the swing will be 10:24am Focus on just playing the music constructed, used and stored. for Things Are Looking Up, with no • singing. Costume: A question about whether the Dream Girls’ clothing 10:38am Jump to a different number, in should be on the on-stage rail or Act 2, where both Zanglers sing What kept backstage. Causes That. Focus on trying to combine • Mics: Can we have them in the lyrics and the music together. rehearsals for the next few days 11:02am Set up for the beginning of the because we can’t hear the singing show. over the music. 11:08am Run from the top of the show. After Lunch 11:37am Tea Break (the actors have to 2:45pm Sort everything out ready to have breaks at certain times according to continue. Equity, the artist’s union) 2:49pm Acting rehearsal of when Bobby 12:07pm End of break (Tom Chambers) and Polly (Caroline Sheen) are in the theatre finding out that 12:10pm Rehearsals split between a music Bobby is from the bank. call in the rehearsal room, and Tom’s/Bobby’s rope work and fight scene 3:02pm Continue into Follies Girls’ song; in the theatre. polish previous work on it. One thing that I have found through my placement is that the professional cast will often spend a

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whole day just concentrating on one song, on-stage packing crates. The show is very doing lots of detail. When I’ve rehearsed energetic, whether actors are playing things before we’ve tried to cram as much music, singing, dancing, acting or re- as possible in but they take it one step at a dressing the set, they are never left with time to get it right. nothing to do! 3:42pm Continue acting rehearsal of when 4:45pm Continue acting rehearsal of the Bobby and Polly meet but Bobby now is Follies Girls getting ready for the show, dressed as Bela Zangler. teaching the cowboys to dance. 4:12pm Song Someone to Watch Over Me 5:00pm The end of my day but the cast (Polly/Caroline) and team will keep going for another hour and a half but some days they work until 4:23pm Tea Break 10pm. 4:40pm End of break

4:42pm Pick up from before break. Working out some stage action with the

Left: The cast of Crazy for You. Right: Bobby (Tom Chambers) and Polly (Caroline Sheen).

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Rehearsal Report Organisation is the chief element of any stage manager’s role. After each day of rehearsals, our Deputy Stage manager, Sara Shardlow, types up the notes she has made during the day and sends them to the staff at The Watermill involved in making the show. Below is an example of her repot for Wednesday 20th July.

Left to right: Sara Shardlow, Jerome Van den Berghe and Catherine Jayes. 27

Credits Music and Lyrics by George Gershwin and Ira Gershwin Book by Co Conception by Ken Ludwig and Inspired by Material by and John McGowan Originally produced on Broadway by Roger Horchow and Elizabeth Williams Original Broadway Choreography by Presented by The Watermill Theatre in Association with Jamie Wilson and Gavin Kalin.

Director Paul Hart Musical Supervisor & Arrangements Catherine Jayes Designer Diego Pitarch Choreographer Nathan M. Wright Lighting Designer Howard Hudson Sound Designer Tom Marshall Associate Director Abigail Pickard-Price Associate Choreographer Claira Vaughan Assistant Musical Director Jerome Van Den Berghe Fight Director Paul Benzing Dialect Coach Elspeth Morrison

Cast List in alphabetical order:

Billy/Eugene Fodor Matt Bateman Everett Baker Kit Benjamin Tess Hollie Cassar Bobby Child Tom Chambers Bela Zangler/Cowboy Peter Dukes Lottie Child/Patricia Fodor Lindsay Goodhand Mitzi Katrina Kleve Lank Hawkins Jeremy Legat Custus Emile Ruddock Moose Ned Rudkins-Stow Patsy Seren Sandham-Davies Polly Baker Caroline Sheen Irene Roth Lucy Thatcher Margie Anne White

Production Manager Lawrence T. Doyle Company Stage Manager Kerrie Driscoll Assistant Production Manager Nelly Chauvet Deputy Stage Manager Sara Shardlow Assistant Stage Managers Ailsa Bonner, Ciara Dredge, Katie Newton Wardrobe Supervisor Amanda Dooley

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Wardrobe Assistant Eloise Short Costumes by Bristol Costume Services, Louise Coughlan, Sarah Poxton Le-Strange, Sue Nicholson, Janet Christmas, Catherine Cottenden Trainee Technician Ben O’Connell Set Construction Belgrade Production Services Beards Campbell Young Associates Artwork & Design Creativexs & EMG Production Photographer Richard Davenport National Press and Publicity Clair Horwood

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